금호미술관

Lee Haevan​​

haevanlee@gmail.com​
www.haevanlee.com​

2025    Hidden Blooming, Kumho Museum of Art, Seoul
2024    Battleground, Art Space INSA, Seoul
2024    Battleground, Bradwolf Projects, Amsterdam, the Netherlands
2020    Dreaming Downstream of the River Sculpture, Gallery Lux, Seoul
2018    Goliath's Tanks, Peace Culture Bunker, Seoul
 

2024    Positions: Soft Intimacies, Stroom Den Haag, The Hague, the Netherlands
2023    I Still Care, Eurocenter Amsterdam, Amsterdam, the Netherlands
2022    Currents #10, Marres, Maastricht, the Netherlands
2022    In Media Res: Ticket to the Future, Omstand, Amsterdam, the Netherlands
2021    In Pending Waters, De Helena, The Hague, the Netherlands
2021    Borderless Site, Culture Station Seoul 284, Seoul
2021    Sun Kissed // Fog Off, Quartair, The Hague, the Netherlands
2020    Bangkok Art Biennale, Bangkok Art and Culture Centre (BACC), Bangkok, Thailand
2020    The Cosmic Race, Palacio de la Autonomía, Mexico City, Mexico
2019    Full Metal Jacket – The Dilemma of Freedom and Tolerance, Gangwon International Art Festival, former Ammunition Maintenance Factory,
           Hongcheon, Gangwon-do
2019    DMZ, Culture Station Seoul 284, Seoul
2019    The Great Artist, POSCO Art Museum, Seoul
2019    Five Moons: The Return of Anonymity and the Unknown, PyeongChang Biennale, Gangwon-do

2025 Artist-in-Residence, MMCA Goyang Residency, National Museum of Modern and Contemporary Art, South Korea
2021 Artist in Retreat Residency, Ronneby, Sweden


Awards & Selections
2024    22nd Kumho Young Artist, Kumho Museum of Art, Seoul

2023    PRO Invest Award, Stroom Den Haag, The Hague, the Netherlands

 

Projects 

2021    Future School Summer Studio: Transborder Lab, Workshop at the Korean Pavilion, Venice Biennale 

Haevan Lee explores the structures and socio-cultural implications of borders, drawing from her upbringing near the Korean Demilitarized Zone (DMZ). She examines the paradox of buffer zones—designed to prevent conflict yet maintained through the absence of human intervention, allowing nature to reclaim its order. Meanwhile, these areas remain under strict military surveillance, reinforcing their dual role as restricted yet ecologically preserved spaces. In her exhibition, Lee presents landscape paintings, murals, and objects centered on the color orange, symbolizing the invisible boundaries within the DMZ, alongside imagery of explosions. In Battleground III: Phantoms of a Melancholic Land (2024), a dreamlike natural expanse is disrupted by a central explosion and billowing smoke. Square markers scattered across the canvases embed traces of regulation within the seemingly untouched landscape. By highlighting these contradictions — order and disorder, preservation and surveillance — Lee challenges perceptions of border territories